The Body

We will presume that the body is a construction, and we will seek here to treat it in metaphoric and metaphysical ways. Our perspective outside of biomolecular and bioengineering restraints extends further, for we do not resort to analysis or critical method(*). Instead, here is the introspective and non-intersubjective. What we present here are reports of immediate experience, without any agreement on the body in question. Thus, we offer ways of being of and being about. We offer a sort of basic research.

(*) We would have liked to present a critical history of embodiment.


Colette Performance artist, painter and photographer, NYC, Berlin.
Amnon Denziger, Artist, Tel Aviv.
Angelika Festa, Performance artist, NYC.
Simone Forti, Choreographer, dancer, teacher, NYC.
Jeffrey Greenberg, Artist, writer, editor, NYC.
Andre Gregory, Actor, director, NYC. The film, My Dinner with Andre.
Jerzy Grotowski, Director, theorist, author of Towards a Poor Theater. Pontedera, Italy, and University of California, Irvine.
Joel Honig, Editor, writer, NYC.
Toine Horvers, Performance artist, Amsterdam.
Allan Kaprow, Artist, teacher, University of California, San Diego.
Uri Katzenstein, Performance artist, sculptor, Tel Aviv.
Linda Montano, Duration artist, Kingston, NY.
Frank Moore, Artist, Berkeley, California.

The Journal

Our purpose is to:
  • present a wide range of activity and methods.
  • provide an open space for representations to "push and pull and tumble about."
  • re-value "performance" with emphasis on the non-spectacle.
  • let the artist speak.
  • empower the reader, holding open areas where the reader can act: in addition to being a witness and, above all, more than just a passive witness!
  • provide a forum where both artists and critics can address issues on an equal basis, where it is presumed that both address important issues with different methods and forms.
  • give voice to the complex and subtle rather than pursuing convenient argument and model building. ("Would it not be rather probable that precisely the most superficial and external aspect of existence – what is most apparent, its skin and sensualization – would be grasped first – and might even be the only thing that allowed itself to be grasped?" — F. Nietszche).
  • allow artists to control the presentation of their work, rather than letting it be used as fodder for commercial enterprise or even commercial-enterprise-as-art.